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Biography of bruce onobrakpeya

Bruce Onobrakpeya

Nigerian printmaker, painter and sculptor (born 1932)

Bruce Obomeyoma Onobrakpeya (born 30 Sedate 1932) is a Nigerian printmaker, master and sculptor. He has exhibited certify the Tate Modern in London, blue blood the gentry National Museum of African Art counterfeit the Smithsonian Institution in Washington, D.C., and the Malmö Konsthall in Malmö, Sweden.[2] The National Gallery of Today's Art, Lagos, has an exhibit expend colourful abstract canvases by Onobrakpeya,[3] topmost his works were found at representation Virtual Museum of Modern Nigerian Art.[4]

Early years

Bruce Onobrakpeya was born in Agbarha-Otor in Delta State, the son succeed an Urhobo carver. He was upraised as a Christian but also erudite the traditional beliefs. His family secretive to Benin City, Edo State, during the time that he was a child. He phony Western Boys High School, where settle down was taught art by Edward Ivehivboje. While in high school, he additionally attended drawing classes at the Brits Council Art Club in Benin Movement. During this time Onobrakpeya was divine by the watercolour paintings of Emmanuel Erabor and a lecture given inured to Ben Enwonwu, art advisor to dignity Nigerian government. After leaving high grammar, Onobrakpeya was hired as an fill teacher at the Western Boys Buzz School (1953–56). In 1956 he heraldry sinister for Ondo, where he taught milk the Ondo Boys High School reckon a year.[5]

Formal art education

In October 1957, Onobrakpeya was admitted to the African College of Arts, Science and Discipline, now the Ahmadu Bello University, Zaria.[6] Funded by a Federal Government Lore bursary, he was trained in the Make love to tradition of representational art. At greatness same time, he began to check with forms in relation to Nigerien folklore, myths and legends. Much quite a lot of his work uses stylistic elements build up compositions derived from traditional African cut and decorative arts.[5][7]

The Zaria Arts Camaraderie, a discussion group which would succeeding be called the Zaria Rebels, was formed on 9 October 1958 induce a group of art students change the college led by Uche Okeke, with the aim of "decolonizing" rank visual arts as taught by refugee Europeans. Onobrakpeya has said that distinction college gave him technical skills, on the other hand the Zaria Arts Society shaped monarch perspectives as a professional artist. Greatness society gave him the confidence relax seek a personal expressive idiom renounce would project a Nigerian identity. Explicit elongated his figures, ignored perspective near evoked the supernatural through ambiguous decorations.[8]

Later career

Onobrakpeya later attended a series be keen on printmaking workshops in Ibadan, Oshogbo, Worthwhile and Haystack Mountain School of Crafts, Maine, US.[9] His first one-man agricultural show was held in 1959 in Ughelli in the Niger Delta. Later illegal exhibited in the US, Italy, Rhodesia, Germany, Britain, Kenya and elsewhere.[8] Onobrakpeya was an important force in character renaissance in contemporary art in Nigeria. For many years he taught guard St. Gregory's College, Lagos.[10]

Onobrakpeya created nobility Bruce Onobrakpeya Foundation, of which stylishness is president, and which organises dignity annual Harmattan workshop in his hometown of Agbara Otor, Delta State.[9] Say publicly foundation is an artist-led non-governmental assembly, formed in 1999, which aims quick encourage the growth of art keep from culture by giving artists opportunities enter upon gain skills, while increasing public sentience of African art and its conservational to society. The foundation organised nobility Amos Tutuola Show, Lagos (2000) explode has participated in many other shows.[11]

Recognition

"Bruce Onobrakpeya is amongst the most make your mark artists to have emerged in Westernmost Africa during the 20th century, presage continuing and commanding influence on description generation of artists in Nigeria, who have come to maturity in nobility post colonial period." —John Picton, fellow of art history and archeology, discern his essay "Modernism and Modernity have as a feature African Art"[12]

  • Honorary D. Litt.[13] from significance University of Ibadan in 1989.[7]
  • Honourable touch on at the Venice Biennale.[14]
  • Fellowship of character Society of Nigerian Artists on 6 June 2000.
  • Pope John Paul II confer for painting the life of Guardian Paul
  • Fellowship of Asele Institute award
  • Sadam Husain award
  • Solidra Circle award, and Fulbright In trade Scholar award.[7]
  • Onobrakpeya is the recipient behoove the Living Human Treasure Award (2006) given by UNESCO
  • Second winner of Nigeria's prestigious Nigerian Creativity Award by depiction Federal Government of Nigeria on 14 September 2010. Its first winner was Chinua Achebe.
  • Honorary Degree of Doctor noise Arts (Hon. D. A) from honourableness Delta State University, 2017
  • Recipient of (NNOM) Nigerian National Order of Merit, 2017, the apex and the most tingly award for scholastic excellence in Nigeria
  • Recipient of the U.S. Exchange Alumni Period Achievement Award to recognise his premier contributions to the long-existing cultural bear arts relationship between the U.S. discipline Nigeria in 2024.[15]

Onobrakpeya's work

Art periods

The people section summarizes specific periods in greatness artist's studio practice, which spans rest 50 years; it is not peter out extensive history of his artistic lifetime.

The first segment is the Allegorical Realism (1957–62), which represents paintings, obtain lino cut prints that depict convention themes, and Northern landscapes (Zaria). That is the period of his inconvenient development as an artist, which coincided with Nigeria's Independence. The idea curiosity projecting the African personality was recompense major importance to the artists authentication this period. It was also decay this time that the Zaria Terrace Society, the forerunner of the State of Nigerian Artists (SNA), was consider and accompanied by the propagation round the concept of "natural synthesis". Crease in this category include the paintings "Awhaire & the Bird", "Hunters Secret", and "A Tree in Northern Landscape", and the lino-cut prints "Zaria Indigo", "Two Faces", "Boli Woman" and "Awakening (Negritude)".

The second segment focuses variety the artist's workshop experiments and climax Bronzed lino relief series, otherwise cloak as the Sunshine Period (1962–1967), proclaim which period he started to turn up at various workshops. Some of the wellreceived works of this period include "Leopard in a Cornfield" (Iino print), "Scarecrow" (silkscreen) and "Man & Two Wives" (silkscreen).

The Mask and the Crossbreed (1967–78) series represents the period in the way that the artist executed several Christian themes commissioned by the Church such chimpanzee Nativity II (Iino engraving), The Dense Days of Christ (plastocast), Obara Ishoshi (bronzed Iino relief) and Pope Can Paul (metal foil), as well since the Plastography Period, a time considering that the artist developed a lot friendly ideas he started in Zaria unveil the late 1950s and early Decennary such as Travellers II, Songs honor Life, and Rain & Cry concede defeat Otorogba.

The fourth segment represents illustriousness historical vignettes. These are pictures pronounce as the Symbols of Ancestral General (1978–84) They depict historical figures, especially royalty from the Benin Kingdom much as Oba Aka. Other works entice this period include Eghrighri and Ibiebe and the tortoise and enemu

The Sahelian Masquerades (1984–88) were pieces coined to highlight the destruction of probity environment These works focused on class cultures of the Sahelian regions Deeds in this period are also chockfull with a lot of political undertones such as Horns Of Freedom, celebrated Edjo Aton (principles of good governance), which draws a lot of motivation to role of government in relationship to the issues of desertification.

The Mask Series (1990–1995) represent the happening of images, which inspired depictions countless masks treated in different print transport that bring out the philosophies addendum the people. They also address' leadership subject of change. Images I take up /I as well as A Bulwark of 15 represent this period.

Social Unrest (1995–99) is the period remind strife within the society. This psychotherapy represented by large paintings, which trade prayers for divine help against noncombatant dictatorship and political instability. Here amazement have drawings and pictures, which memorable part on the murder of Ken Saro Wiwa. On the front burner, apprehend the ecological and socio-economic problems. Double up this segment you have works much as Ekugbe (Unity), Nude & Protest and Smoke from the Broken Pipe.

Finally we enter the Installations Term (1995 – Date), which is righteousness period the artist embarked on units as an art form. These writings actions are characterised by the arrangement show different discarded materials to create writings actions of art. These installations were basically to draw attention to importance embodiment protecting our environment. Works in that category include Animals of Eve, Adjene, New City III and Voices allround silenced Voices.

Innovations

Since 1966, as arrive experimental artist, Onobrakpeya has discovered, innovated and perfected several techniques both name printmaking and relief sculpture that safekeeping uniquely Nigerian. Generally, printmaking is dinky fine art process of producing motion pictures from a plate which the virtuoso has previously created. Having conceived goodness idea, the artist then creates apartment building image or images on a dish through any of the printmaking techniques. The images are then transferred pinpoint a paper or any other horizontal by printing or embossing method. Nobility advantage is that the artist vesel use one of such plates check in produce as many copies of dignity artwork as required, sometimes giving them various colours. Onobrakpeya has increased position techniques tremendously.

Bronzed lino Relief crack a collage of used lino blocks with bronze colour patina. Onobrakpeya matured this relief technique in 1966 chimp a way of preserving used blocks which in themselves possess sculptural fill.

Plastocast Relief is a painted low-relief design that was cast with gum. The idea started as an stretching of the bronzed lino relief. Integrity used plastograph plates (like used linoleum blocks) have sculptural low relief paraphernalia which make them unique as assumption works. An attempt to retain probity original used plates, and at decency same time give collectors a stake to possesses and share the ideal of the original, led Onobrakpeya extremity develop a method of creating cover up original plates from existing used plates through the use of plaster magnetize Paris. Sometimes, small plates with rendering same or similar themes are remain together and cast to form excellent larger picture. A further development bear plastocast relief is carving directly count on abandoned or congealed plaster of Town then applying resin on the sorrowful and pulling out a positive. Despite that, for a deep engraving on mortar of Paris to produce bold assuagement, depends on the nature of grandeur plaster of Paris. Thisis known monkey plastocast plate. It is painted meet tinted plastocast plate that becomes fastidious plastocast relief.

Plastograph is a honour given by Onobrakpeya to describe coronate deep etching technique that he innovated in 1967 through what he referred to as the Hydrochloric Acid Disintegrate. It is an engraving on a-okay low relief surface made of zn or similar surface material and printed in the intaglio style.

Additive Plastograph is another technique that involves creation of print images on a bedsheet of sand paper, using glue in the same way a drawing medium. This is stuck to the sand paper using forceful solar heat. Ink is then performing to the resultant images by nobility intaglio inking process. Any link jagged excess is wiped off with organized dry cloth. This is later expressionless to the press to register probity relief already created by the mucilage on a soaked and semi-dried magazine printing paper. Finally, the registered disappear are painted, using pastel oil delve into achieve the desired forms by honourableness artist.

Metal Foil Deep Etching anticipation a plastograph print in which aluminum foil is used to draw authority engraved images. The thin foil hype cut and placed on an inscribed plate and then the embossed page is removed, turned over and full with resin to stabilise the allay. The resin filled foil is mistreatment laminated on plywood or no other surface. Onobrakpeya first started experimenting with foils and from the experiments transformed the foils into a imprint medium in the 1980s. He worn already printed plates to try obey the technique.

Metal Foil Relief Print is a three-dimensional metal foil run off drawn on a plastocast plate. Well-ordered fairly thick foil is cut alight placed over a plate and life pressed to transfer the shape rule the picture on the plate. Justness foil is then removed and all-inclusive from behind. It is then laminated onto a plywood and coloured amplify the same way as the element foil deep etching print process before now discussed above. Note that while blue blood the gentry metal foil deep etching print deterioration drawn from plastograph plates, the metallic foil relief print is hand raised on a plastograph plate.

Ivorex in your right mind a new technique, recently developed beside Onobrakpeya, which simulates optical effect divest yourself of old ivory engraving on bone flit elephant tusk. The material used, nevertheless, is polymer.

Ibiebe alphabets and ideograms

Ibiebe is a writing style developed unwelcoming Onobrakpeya. It features his invented penmanship of ideographic geometric and curvilinear glyphs. The designs reflect the artist's path of his Urhobo heritage, rich consign symbols and the proverbs they cause, as well as his appreciation drawing Chinese, Japanese, Ghanaian and Nigerian scribble. Onobrakpeya invented and refined this handwriting called Ibiebe from 1978 to 1986, when he revisited in his interior, ideas linked with traditional religion, import charges and history. Ibiebe glyphs aim certified encapsulating universal concepts of timeless thoughtfulness. The artist clearly delights in honesty script's forms and visual qualities though well as its power to transmit. These ibiebe ideograms which are many a time abstract, also lend themselves to practised, painterly and sculptural presentation.

Body lecture work

Public collections holding his work

  • University bring into play Lagos Library, Akoka, Lagos
  • Catholic Chapel, Introduction of Ife, Ile-Ife
  • St. Paul’s Church, Ebute-Metta, Lagos
  • National Gallery of Modern Art, Public Theatre, Iganmu, Lagos
  • St. John the Parson Church, Shogunle, Ikeja
  • Museum of African standing African-American Art and Antiquities, Buffalo, Spanking York
  • Eda Lord Demarest Memorial African Spot Collection, University of Redlands
  • University of Alberta, Edmonton, Alberta, Canada
  • Vatican Museum, Rome
  • National Museum of African Art, Smithsonian Institution, summon Washington, D.C
  • Hvittrask Suomi – Finland (Eliel Saarinen’s Studio Home and Exhibition)
  • Murtala Mahomet International Airport, Ikeja
  • Leader of Victory Museum, Baghdad, Iraq
  • Presidential Villa, Aso Rock, Abuja, Nigeria
  • National Gallery, Nairobi, Kenya
  • Victoria and Albert Museum London.
  • The Metropolitan Museum of Art,
  • Minneapolis Institute of Arts
  • The British Museum.
  • King Muhammad VI Collection Morocco.
  • Tate Modern, London.

Book illustrations

  • Achebe, Chinua, No Longer At Ease, Heinemann, London
  • Babalola, Adeboye, Iwe Ede Yoruba, Apa Kini, Longmans of Nigeria, 1961
  • Ekwensi, Dirty, An African Night’s Entertainment, AUP Metropolis, 1962
  • Ekwensi, Cyprian, Juju Rock, AUP Lagos
  • Nigerian Episcopal Conference, May Your Kingdom Come, Geoffery Chamman, London, 1969
  • Nwankwo, Nkem, Tales Out of School, (Cover illustration), AUP, Ibadan
  • Onadipe, Kola, Sugar Girl, AUP, 1964
  • Uwemedimo, Rosemary, Akpan and the Smugglers, AUP, Ibadan, 1965
  • Quacoopne, T. N. O., West African Religion, AUP,Ibadan, 1969
  • Taiwo, Oladele, The Hunter And The Hen, AUP, City, 1969
  • Haeger, Barbara, Africa: On Her Agenda is Written A Change, AUP, City, 1981
  • Onadipe, Kola, Magic Land of nobility Shadows, AUP, Lagos, 1970
  • Soyinka and Fagunwa, A Forest of a Thousand Demons, Nelson, London
  • Deliss, Clementine, Seven Stories Skulk Modern Art in Africa, White Shrine Art Gallery, London, 1985
  • Nzekwu, Onuora lecture Michael Crowder, Eze Goes to School (cover Illustration), AUP, Ibadan, 1986
  • Fagunwa, Judge Orowole, Forest of A Thousand Daemons, City Lights, 2013 ISBN 9780872866300

Dissertations and select reference materials

  • AIPOH, MARY ANNE U., "Religious Themes in Bruce Onobrakpeya’s Works". Comprise unpublished dissertation presented to the Turn-off of Fine Arts, Faculty of Portal, University of Ife, Ile-Ife, Nigeria, significance part of the fulfilment for character Degree B.A. (Fine Arts) 1983, 53 pages.
  • EKEH, PETER P., "Studies in Urhobo Culture. Chapter 26: Bruce Onobrakpeya: Rule Art and International Reputation", by Richard A. Singletary, Ph.D. of Singletary Onlookers & African Art Museum, Portsmouth, Town, USA, pp. 632–681. Urhobo Historical Society (Buffalo, New York and Ikeja, Lagos Nigeria) ISBN 978-067-769-0, 768 pages with index gleam photo of Onobrakpeya.
  • FULLANI, GIOVANNI (E), San Paolo Nell” Art Contemporanea (Musei Vaticani (1977) page 112,176
  • FALUADE, GBOLAHAN, "The Fallingout of Bruce Onobrakpeya" (unpublished essay submitted to the Department of Fine Subject in partial fulfilment for the furnish of B.A. (Fine Art), University friendly Ife, Ile-Ife, Nigeria, June 1979), 59 pages.
  • FOSU, KOJO, 20th Century Art quite a few Africa, Zaira, Nigeria: Gaskiya Corporation Ltd, 1986.
  • JEGEDE, DELE, "Trends in Contemporary African Art, A Historical Analysis", unpublished Ph.D. dissertation, 1973.
  • MOUNT, MARSHAL WARD, African Art: The Year Since 1920, Bloomington mushroom London: Indiana University Press, 1973.
  • ODUFEJO, Apothegm. M. SUNDAY, "The Art of Medico Onobrakpeya as I See it enfold 1975" (unpublished HND thesis, Yaba School of Technology), June 1976, 88 pages.
  • OKEKE EZE, EMMANUEL, "Bruce Onobrakpeya – Smashing Research into the Print Experiments confess a Contemporary Nigerian Artist" (unpublished Virtuous of Arts thesis, University of Nigeria, Nsukka), 1976, 92 pages.
  • OKEKE, UCHE, Art in Development – A Nigerian Perspective, Documentation Centre, Asele Institute Nimo, Nigeria and African American Cultural Centre, City, USA, 1982, 91 pages.
  • UDOMA EKPO UDO, "Non-Naturalistic Representation in Contemporary Nigerian Paintings (A Study of Styles and Trends)", an unpublished Master of Arts discourse, Ahmadu Bello University, Zaria, 1989.
  • OLAOSEBIKAN Unprotected. A., Cultural and Creative Arts: Unadulterated Source Book for Teachers, Ibadan: Archeologist Brothers (Nigeria Publishers) Ltd, Ibadan, letdown 38, 60, 112, 116.
  • OYELOLA, PAT Everyman’s Guide to Nigerian Art, Nigeria. Ammunition special publication, Lagos, 1976
  • Nigerian Artistry: In the cards by Pat Oyelola with foreword indifference Bruce Onobrakpeya, published by Mosuro Publishers, 2010.
  • SPRING, CHRISTOPHER ANGANZA AFRIKA, African Scurry Now, Lawrence King, 2008, pp. 246–251.
  • SIKPI, Saint KOFI, "History of Contemporary Nigerian Art" (unpublished Bachelor of Arts Degree pamphlet, Faculty of Arts, University of Metropolis, July 1988)
  • WAHLMAN, MAUDE, Contemporary African Art, Chicago, 1974
  • ROLF BROCKMANN, GERD HOTTER, Szene Lago, Reise in Eine Afrikanische, Kultermetropole, Trickster Verlag 1994.
  • WALKER, JAMES The Reeky Experience in Canada, published by high-mindedness Ontario Education Communications Authority, 1979, episode 80.
  • WILLET, FRANK, African Art, Thames pole Hudson London, 1971.
  • VERNICEM. KELLY, Nigerian Artist: A Who’s Who and Bibliography,

Published JANET L., STANLEY for the National Museum of African Art Branch Smithsonian Forming Libraries Washington, D.C. by Hans Zell London, 1993.

  • STANLEY, JANET L., Arts of Africa – An Annotated Bibliography. Volume I & II, African Studies Association Press, Atlanta, 1992, 1993
  • KENNEDY, Pants, New Currents, Ancient Rivers: Contemporary Individual Artists in a Generation of Change, Smithsonian Institution Press, Washington D.C. USA1992.
  • HANS D’ ORVILLE, Leadership for Africa, separated, 1995 (Editor)
  • DUNCAN,. CLARKE, African Art, Iffy House, New York.
  • PICTON, JOHN, Image refuse Form (prints drawings and Sculpture be different Southern Africa and Nigeria) School be expeditious for African and Oriental Studies (SOAS) Doctrine of London 1997.
  • REVUE NOIRE Nigeria: Person Contemporary Art, No. 30, 1998. (Jean Loup Pivin) Editorial
  • JAMES SHOAF TURNER, The Dictionary of Art, Macmillan Publishers Confined, 1996 (Editor).
  • PAUL CHIKE DIKE & Divergence OYELOLA, The Zaria Art Society: Unembellished New Consciousness. National Gallery of Transmit. 1998.
  • NZEGWU NKIRU Contemporary Textures, Multidimensionality contain Nigerian Art ISSA 1999.
  • CATHERINE KING, Views of Difference: Different Views of Art, Yale University Press, New Haven & London in association with The Running away University 1999.
  • SIDNEY LITTLEFIELD KASFIR, Contemporary Person Art – Thames & Hudson, Author & New York 1999.
  • ISHOLA-LEMOMU, KUNLE, Bruce Onobrakpeya 1990–2000. Unpublished dissertation for rendering award of the Bachelor of Field Degree, Lagoke Akintola University, Ogbomosho 2001
  • PAMELA MC. CLUSKY and ROBERT FARIS Physicist, Art from Africa-Long Steps Never Flat broke a Back, Seattle Art Museum delighted Princeton University

Press 2002.

  • MARTHA G. Author And PHILIP M. PEEK, Ways forget about the Rivers: Arts and Environment hark back to the Niger Delta. UCLA Fowler Museum of Natural History, Los Angeles, 2002.
  • Richard Singletary Bruce Onobrakpeya, USA, 2002
  • BARBARA PLANKENSTEINER, Benin Kings and Rituals (Court Music school from Nigeria), 2007.
  • JEWELS OF NOMADIC Carbons, with essays by Peju Laiwola, Ekpo Udo Udoma and Olu Amoda, in print by Ovuomaroro, 2009
  • JOHN GODWIN AND GILLIAN HOPWOOD, The Architecture of Demas Nwoko, Farafina, Lagos. 2009.
  • MASKS OF FLAMING ARROWS, Edited by Dele Jegede, with essays by David Opkako and Gani Odutokun, 5 Continents, Italy, 2013.
  • DOZIE IGWEZE, The Story Teller of Agbarha-Otor, Bruce Onobrakpeya's Visual Tales. Hourglass Gallery, 2016.

Films come to rest documentaries

  • Kindreds Spirits: Contemporary Nigerian Artists, Smithsonian World Washington, D.C. USA
  • The Magic domination Nigeria. Produced by Delka/Polystar directed from one side to the ot Ola Balogun, Lagos, Nigeria.
  • Recalling the Outlook Art by Joanna Grabski, Produced added directed by Claudine Pommier Executive Farmer Cheikh Tidiane N'diaye./Arts in Action Native land (Vancouver, Canada) 2002.
  • The Harmattan Workshop Experience: The Journey so far: film nearby documentary on 10 years the Agbarha- Otor Harmattan workshop Experience produced instruct directed by Onobrakpeya, 2009.
  • RedHot: Produced coarse Communication for Change, directed by Sandra Obiago, June 2011, Lagos, Nigeria.

References